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Creativity is a trait that makes humans unique from other species. We alone have the ability to make music and art that speak to our experiences or illuminate truths about our world. But suddenly, humans’ artistic abilities have some competition—and from a decidedly non-human source.

Over the last couple years there have been some remarkable examples of art produced by deep learning algorithms. They have challenged the notion of an elusive definition of creativity and put into perspective how professionals can use artificial intelligence to enhance their abilities and produce beyond the known boundaries.

But when creativity is the result of code written by a programmer, using a format given by a software engineer, featuring private and public datasets, how do we assign ownership of AI-generated content, and particularly that of artwork? McKinsey estimates AI will annually generate value of $3.5 to $5.8 trillion across various sectors.

In 2018, a portrait that was christened Edmond de Belamy was made in a French art collective called Obvious. It used a database with 15,000 portraits from the 1300s to the 1900s to train a deep learning algorithm to produce a unique portrait. The painting sold for $432,500 in a New York auction. Similarly, a program called Aiva, trained on thousands of classical compositions, has released albums whose pieces are being used by ad agencies and movies.

The datasets used by these algorithms were different, but behind both there was a programmer who changed the brush strokes or musical notes into lines of code and a data scientist or engineer who fitted and “curated” the datasets to use for the model. There could also have been user-based input, and the output may be biased towards certain styles or unintentionally infringe on similar pieces of art. This shows that there are many collaborators with distinct roles in producing AI-generated content, and it’s important to discuss how they can protect their proprietary interests.

A perspective article published in Nature Machine Intelligence by Jason K. Eshraghian in March looks into how AI artists and the collaborators involved should assess their ownership, laying out some guiding principles that are “only applicable for as long as AI does not have legal parenthood, the way humans and corporations are accorded.”

Before looking at how collaborators can protect their interests, it’s useful to understand the basic requirements of copyright law. The artwork in question must be an “original work of authorship fixed in a tangible medium.” Given this principle, the author asked whether it’s possible for AI to exercise creativity, skill, or any other indicator of originality. The answer is still straightforward—no—or at least not yet. Currently, AI’s range of creativity doesn’t exceed the standard used by the US Copyright Office, which states that copyright law protects the “fruits of intellectual labor founded in the creative powers of the mind.”

Due to the current limitations of narrow AI, it must have some form of initial input that helps develop its ability to create. At the moment AI is a tool that can be used to produce creative work in the same way that a video camera is a tool used to film creative content. Video producers don’t need to comprehend the inner workings of their cameras; as long as their content shows creativity and originality, they have a proprietary claim over their creations.

The same concept applies to programmers developing a neural network. As long as the dataset they use as input yields an original and creative result, it will be protected by copyright law; they don’t need to understand the high-level mathematics, which in this case are often black box algorithms whose output it’s impossible to analyze.

Will robots and algorithms eventually be treated as creative sources able to own copyrights? The author pointed to the recent patent case of Warner-Lambert Co Ltd versus Generics where Lord Briggs, Justice of the Supreme Court of the UK, determined that “the court is well versed in identifying the governing mind of a corporation and, when the need arises, will no doubt be able to do the same for robots.”

In the meantime, Dr. Eshraghian suggests four guiding principles to allow artists who collaborate with AI to protect themselves.

First, programmers need to document their process through online code repositories like GitHub or BitBucket.

Second, data engineers should also document and catalog their datasets and the process they used to curate their models, indicating selectivity in their criteria as much as possible to demonstrate their involvement and creativity.

Third, in cases where user data is utilized, the engineer should “catalog all runs of the program” to distinguish the data selection process. This could be interpreted as a way of determining whether user-based input has a right to claim the copyright too.

Finally, the output should avoid infringing on others’ content through methods like reverse image searches and version control, as mentioned above.

AI-generated artwork is still a very new concept, and the ambiguous copyright laws around it give a lot of flexibility to AI artists and programmers worldwide. The guiding principles Eshraghian lays out will hopefully shed some light on the legislation we’ll eventually need for this kind of art, and start an important conversation between all the stakeholders involved.

To build today’s smartphone in the 1980s, it would cost about $110 million, require nearly 200 kilowatts of energy (compared to 2kW per year today), and the device would be 14 meters tall, according to Applied Materials CTO Omkaram Nalamasu.

That’s the power of materials advances. Materials science has democratized smartphones, bringing the technology to the pockets of over 3.5 billion people. But far beyond devices and circuitry, materials science stands at the center of innumerable breakthroughs across energy, future cities, transit, and medicine. And at the forefront of Covid-19, materials scientists are forging ahead with biomaterials, nanotechnology, and other materials research to accelerate a solution.

As the name suggests, materials science is the branch devoted to the discovery and development of new materials. It’s an outgrowth of both physics and chemistry, using the periodic table as its grocery store and the laws of physics as its cookbook.

And today, we are in the middle of a materials science revolution. In this article, we’ll unpack the most important materials advancements happening now.

Let’s dive in.

The Materials Genome Initiative
In June 2011 at Carnegie Mellon University, President Obama announced the Materials Genome Initiative, a nationwide effort to use open source methods and AI to double the pace of innovation in materials science. Obama felt this acceleration was critical to the US’s global competitiveness, and held the key to solving significant challenges in clean energy, national security, and human welfare. And it worked.

By using AI to map the hundreds of millions of different possible combinations of elements—hydrogen, boron, lithium, carbon, etc.—the initiative created an enormous database that allows scientists to play a kind of improv jazz with the periodic table.

This new map of the physical world lets scientists combine elements faster than ever before and is helping them create all sorts of novel elements. And an array of new fabrication tools are further amplifying this process, allowing us to work at altogether new scales and sizes, including the atomic scale, where we’re now building materials one atom at a time.

Biggest Materials Science Breakthroughs
These tools have helped create the metamaterials used in carbon fiber composites for lighter-weight vehicles, advanced alloys for more durable jet engines, and biomaterials to replace human joints. We’re also seeing breakthroughs in energy storage and quantum computing. In robotics, new materials are helping us create the artificial muscles needed for humanoid, soft robots—think Westworld in your world.

Let’s unpack some of the leading materials science breakthroughs of the past decade.

(1) Lithium-ion batteries

The lithium-ion battery, which today powers everything from our smartphones to our autonomous cars, was first proposed in the 1970s. It couldn’t make it to market until the 1990s, and didn’t begin to reach maturity until the past few years.

An exponential technology, these batteries have been dropping in price for three decades, plummeting 90 percent between 1990 and 2010, and 80 percent since. Concurrently, they’ve seen an eleven-fold increase in capacity.

But producing enough of them to meet demand has been an ongoing problem. Tesla has stepped up to the challenge: one of the company’s Gigafactories in Nevada churns out 20 gigawatts of energy storage per year, marking the first time we’ve seen lithium-ion batteries produced at scale.

Musk predicts 100 Gigafactories could store the energy needs of the entire globe. Other companies are moving quickly to integrate this technology as well: Renault is building a home energy storage based on their Zoe batteries, BMW’s 500 i3 battery packs are being integrated into the UK’s national energy grid, and Toyota, Nissan, and Audi have all announced pilot projects.

Lithium-ion batteries will continue to play a major role in renewable energy storage, helping bring down solar and wind energy prices to compete with those of coal and gasoline.

(2) Graphene

Derived from the same graphite found in everyday pencils, graphene is a sheet of carbon just one atom thick. It is nearly weightless, but 200 times stronger than steel. Conducting electricity and dissipating heat faster than any other known substance, this super-material has transformative applications.

As manufacturing costs decrease, this material has the power to accelerate advancements of all kinds.

(3) Perovskite

Right now, the “conversion efficiency” of the average solar panel—a measure of how much captured sunlight can be turned into electricity—hovers around 16 percent, at a cost of roughly $3 per watt.

Perovskite, a light-sensitive crystal and one of our newer new materials, has the potential to get that up to 66 percent, which would double what silicon panels can muster.

Perovskite’s ingredients are widely available and inexpensive to combine. What do all these factors add up to? Affordable solar energy for everyone.

Materials of the Nano-World
Nanotechnology is the outer edge of materials science, the point where matter manipulation gets nano-small—that’s a million times smaller than an ant, 8,000 times smaller than a red blood cell, and 2.5 times smaller than a strand of DNA.

Nanobots are machines that can be directed to produce more of themselves, or more of whatever else you’d like. And because this takes place at an atomic scale, these nanobots can pull apart any kind of material—soil, water, air—atom by atom, and use these now raw materials to construct just about anything.

Progress has been surprisingly swift in the nano-world, with a bevy of nano-products now on the market. Never want to fold clothes again? Nanoscale additives to fabrics help them resist wrinkling and staining. Don’t do windows? Not a problem! Nano-films make windows self-cleaning, anti-reflective, and capable of conducting electricity. Want to add solar to your house? We’ve got nano-coatings that capture the sun’s energy.

Nanomaterials make lighter automobiles, airplanes, baseball bats, helmets, bicycles, luggage, power tools—the list goes on. Researchers at Harvard built a nanoscale 3D printer capable of producing miniature batteries less than one millimeter wide. And if you don’t like those bulky VR goggles, researchers are now using nanotech to create smart contact lenses with a resolution six times greater than that of today’s smartphones.

And even more is coming. Right now, in medicine, drug delivery nanobots are proving especially useful in fighting cancer. Computing is a stranger story, as a bioengineer at Harvard recently stored 700 terabytes of data in a single gram of DNA.

On the environmental front, scientists can take carbon dioxide from the atmosphere and convert it into super-strong carbon nanofibers for use in manufacturing. If we can do this at scale—powered by solar—a system one-tenth the size of the Sahara Desert could reduce CO2 in the atmosphere to pre-industrial levels in about a decade.

The applications are endless. And coming fast. Over the next decade, the impact of the very, very small is about to get very, very large.

Final Thoughts
With the help of artificial intelligence and quantum computing over the next decade, the discovery of new materials will accelerate exponentially.

And with these new discoveries, customized materials will grow commonplace. Future knee implants will be personalized to meet the exact needs of each body, both in terms of structure and composition.

Ultimately, the path to demonetization and democratization of advanced technologies starts with re-designing materials— the invisible enabler and catalyst. Our future depends on the materials we create.

(Note: This article is an excerpt from The Future Is Faster Than You Think—my new book, just released on January 28th! To get your own copy, click here!)

Join Me
(1) A360 Executive Mastermind: If you’re an exponentially and abundance-minded entrepreneur who would like coaching directly from me, consider joining my Abundance 360 Mastermind, a highly selective community of 360 CEOs and entrepreneurs who I coach for 3 days every January in Beverly Hills, Ca. Through A360, I provide my members with context and clarity about how converging exponential technologies will transform every industry. I’m committed to running A360 for the course of an ongoing 25-year journey as a “countdown to the Singularity.”

If you’d like to learn more and consider joining our 2021 membership, apply here.

(2) Abundance-Digital Online Community: I’ve also created a Digital/Online community of bold, abundance-minded entrepreneurs called Abundance-Digital. Abundance-Digital is Singularity University’s ‘onramp’ for exponential entrepreneurs—those who want to get involved and play at a higher level. Click here to learn more.

(Both A360 and Abundance-Digital are part of Singularity University—your participation opens you to a global community.)

This article originally appeared on diamandis.com. Read the original article here.

As you know if you’ve ever been to, heard of, or read about the annual Consumer Electronics Show in Vegas, there’s no shortage of tech in any form: gadgets, gizmos, and concepts abound. You probably couldn’t see them all in a month even if you spent all day every day trying.

Given the sheer scale of the show, the number of exhibitors, and the inherent subjectivity of bestowing superlatives, it’s hard to pick out the coolest tech from CES. But I’m going to do it anyway; in no particular order, here are some of the products and concepts that I personally found most intriguing at this year’s event.

e-Novia’s Haptic Gloves
Italian startup e-Novia’s Weart glove uses a ‘sensing core’ to record tactile sensations and an ‘actuation core’ to reproduce those sensations onto the wearer’s skin. Haptic gloves will bring touch to VR and AR experiences, making them that much more life-like. The tech could also be applied to digitization of materials and in gaming and entertainment.

e-Novia’s modular haptic glove
I expected a full glove, but in fact there were two rings that attached to my fingers. Weart co-founder Giovanni Spagnoletti explained that they’re taking a modular approach, so as to better tailor the technology to different experiences. He then walked me through a virtual reality experience that was a sort of simulated science experiment: I had to lift a glass beaker, place it on a stove, pour in an ingredient, open a safe to access some dry ice, add that, and so on. As I went through the steps, I felt the beaker heat up and cool off at the expected times, and felt the liquid moving inside, as well as the pressure of my fingertips against the numbered buttons on the safe.

A virtual (but tactile) science experiment
There was a slight delay between my taking an action and feeling the corresponding tactile sensation, but on the whole, the haptic glove definitely made the experience more realistic—and more fun. Slightly less fun but definitely more significant, Spagnoletti told me Weart is working with a medical group to bring tactile sensations to VR training for surgeons.

Sarcos Robotics’ Exoskeleton
That tire may as well be a feather
Sarcos Robotics unveiled its Guardian XO full-body exoskeleton, which it says can safely lift up to 200 pounds across an extended work session. What’s cool about this particular exoskeleton is that it’s not just a prototype; the company announced a partnership with Delta airlines, which will be trialing the technology for aircraft maintenance, engine repair, and luggage handling. In a demo, I watched a petite female volunteer strap into the exoskeleton and easily lift a 50-pound weight with one hand, and a Sarcos employee lift and attach a heavy component of a propeller; she explained that the strength-augmenting function of the exoskeleton can easily be switched on or off—and the wearer’s hands released—to facilitate multi-step tasks.

Hyundai’s Flying Taxi
Where to?
Hyundai and Uber partnered to unveil an air taxi concept. With a 49-foot wingspan, 4 lift rotors, and 4 tilt rotors, the aircraft would be manned by a pilot and could carry 4 passengers at speeds up to 180 miles per hour. The companies say you’ll be able to ride across your city in one of these by 2030—we’ll see if the regulatory environment, public opinion, and other factors outside of technological capability let that happen.

Mercedes’ Avatar Concept Car
Welcome to the future
As evident from its name, Mercedes’ sweet new Vision AVTR concept car was inspired by the movie Avatar; director James Cameron helped design it. The all-electric car has no steering wheel, transparent doors, seats made of vegan leather, and 33 reptilian-scale-like flaps on the back; its design is meant to connect the driver with both the car and the surrounding environment in a natural, seamless way.

Next-generation scrolling
Offered the chance to ‘drive’ the car, I jumped on it. Placing my hand on the center console started the engine, and within seconds it had synced to my heartbeat, which reverberated through the car. The whole dashboard, from driver door to passenger door, is one big LED display. It showed a virtual landscape I could select by holding up my hand: as I moved my hand from left to right, different images were projected onto my open palm. Closing my hand on an image selected it, and suddenly it looked like I was in the middle of a lush green mountain range. Applying slight forward pressure on the center console made the car advance in the virtual landscape; it was essentially like playing a really cool video game.

Mercedes is aiming to have a carbon-neutral production fleet by 2039, and to reduce the amount of energy it uses during production by 40 percent by 2030. It’s unclear when—or whether—the man-machine-nature connecting features of the Vision AVTR will start showing up in production, but I for one will be on the lookout.

Waverly Labs’ In-Ear Translator
Waverly Labs unveiled its Ambassador translator earlier this year and has it on display at the show. It’s worn on the ear and uses a far-field microphone array with speech recognition to translate real-time conversations in 20 different languages. Besides in-ear audio, translations can also appear as text on an app or be broadcast live in a conference environment.

It’s kind of like a giant talking earring
I stopped by the booth and tested out the translator with Waverly senior software engineer Georgiy Konovalov. We each hooked on an earpiece, and first, he spoke to me in Russian. After a delay of a couple seconds, I heard his words in—slightly robotic, but fully comprehensible—English. Then we switched: I spoke to him in Spanish, my words popped up on his phone screen in Cyrillic, and he translated them back to English for me out loud.

On the whole, the demo was pretty cool. If you’ve ever been lost in a foreign country whose language you don’t speak, imagine how handy a gadget like this would come in. Let’s just hope that once they’re more widespread, these products don’t end up discouraging people from learning languages.

Not to be outdone, Google also announced updates to its Translate product, which is being deployed at information desks in JFK airport’s international terminal, in sports stadiums in Qatar, and by some large hotel chains.

Stratuscent’s Digital Nose
AI is making steady progress towards achieving human-like vision and hearing—but there’s been less work done on mimicking our sense of smell (maybe because it’s less useful in everyday applications). Stratuscent’s digital nose, which it says is based on NASA patents, uses chemical receptors and AI to identify both simple chemicals and complex scents. The company is aiming to create the world’s first comprehensive database of everyday scents, which it says it will use to make “intelligent decisions” for customers. What kind of decisions remains to be seen—and smelled.

Last Saturday we took a look at some of the most-read Singularity Hub articles from 2019. This week, we’re featuring some of our favorite articles from the last year. As opposed to short pieces about what’s happening, these are long reads about why it matters and what’s coming next. Some of them make the news while others frame the news, go deep on big ideas, go behind the scenes, or explore the human side of technological progress.

We hope you find them as fascinating, inspiring, and illuminating as we did.

DeepMind and Google: The Battle to Control Artificial Intelligence
Hal Hodson | 1843
“[DeepMind cofounder and CEO Demis] Hassabis thought DeepMind would be a hybrid: it would have the drive of a startup, the brains of the greatest universities, and the deep pockets of one of the world’s most valuable companies. Every element was in place to hasten the arrival of [artificial general intelligence] and solve the causes of human misery.”

The Most Powerful Person in Silicon Valley
Katrina Brooker | Fast Company
“Billionaire Masayoshi Son—not Elon Musk, Jeff Bezos, or Mark Zuckerberg—has the most audacious vision for an AI-powered utopia where machines control how we live. And he’s spending hundreds of billions of dollars to realize it. Are you ready to live in Masa World?”

AR Will Spark the Next Big Tech Platform—Call It Mirrorworld
Kevin Kelly | Wired
“Eventually this melded world will be the size of our planet. It will be humanity’s greatest achievement, creating new levels of wealth, new social problems, and uncountable opportunities for billions of people. There are no experts yet to make this world; you are not late.”

Behind the Scenes of a Radical New Cancer Cure
Ilana Yurkiewicz | Undark
“I remember the first time I watched a patient get his Day 0 infusion. It felt anti-climactic. The entire process took about 15 minutes. The CAR-T cells are invisible to the naked eye, housed in a small plastic bag containing clear liquid. ‘That’s it?’ my patient asked when the nurse said it was over. The infusion part is easy. The hard part is everything that comes next.”

The Promise and Price of Cellular Therapies
Siddhartha Mukherjee | The New Yorker
“We like to imagine medical revolutions as, well, revolutionary—propelled forward through leaps of genius and technological innovation. But they are also evolutionary, nudged forward through the optimization of design and manufacture.”

Impossible Foods’ Rising Empire of Almost Meat
Chris Ip | Engadget
“Impossible says it wants to ultimately create a parallel universe of ersatz animal products from steak to eggs. …Yet as Impossible ventures deeper into the culinary uncanny valley, it also needs society to discard a fundamental cultural idea that dates back millennia and accept a new truth: Meat doesn’t have to come from animals.”

Inside the Amazon Warehouse Where Humans and Machines Become One
Matt Simon | Wired
“Seen from above, the scale of the system is dizzying. My robot, a little orange slab known as a ‘drive’ (or more formally and mythically, Pegasus), is just one of hundreds of its kind swarming a 125,000-square-foot ‘field’ pockmarked with chutes. It’s a symphony of electric whirring, with robots pausing for one another at intersections and delivering their packages to the slides.”

Boston Dynamics’ Robots Are Preparing to Leave the Lab—Is the World Ready?
James Vincent | The Verge
“After decades of kicking machines in parking lots, the company is set to launch its first ever commercial bot later this year: the quadrupedal Spot. It’s a crucial test for a company that’s spent decades pursuing long-sighted R&D. And more importantly, the success—or failure—of Spot will tell us a lot about our own robot future. Are we ready for machines to walk among us?”

I Cut the ‘Big Five’ Tech Giants From My Life. It Was Hell
Kashmir Hill | Gizmodo
“Critics of the big tech companies are often told, ‘If you don’t like the company, don’t use its products.’ I did this experiment to find out if that is possible, and I found out that it’s not—with the exception of Apple. …These companies are unavoidable because they control internet infrastructure, online commerce, and information flows.”

Why I (Still) Love Tech: In Defense of a Difficult Industry
Paul Ford | Wired
“The mysteries of software caught my eye when I was a boy, and I still see it with the same wonder, even though I’m now an adult. Proudshamed, yes, but I still love it, the mess of it, the code and toolkits, down to the pixels and the processors, and up to the buses and bridges. I love the whole made world. But I can’t deny that the miracle is over, and that there is an unbelievable amount of work left for us to do.”

The Peculiar Blindness of Experts
David Epstein | The Atlantic
“In business, esteemed (and lavishly compensated) forecasters routinely are wildly wrong in their predictions of everything from the next stock-market correction to the next housing boom. Reliable insight into the future is possible, however. It just requires a style of thinking that’s uncommon among experts who are certain that their deep knowledge has granted them a special grasp of what is to come.”

The Most Controversial Tree in the World
Rowan Jacobson | Pacific Standard
“…we are all GMOs, the beneficiaries of freakishly unlikely genetic mash-ups, and the real Island of Dr. Moreau is that blue-green botanical garden positioned third from the sun. Rather than changing the nature of nature, as I once thought, this might just be the very nature of nature.”

How an Augmented Reality Game Escalated Into Real-World Spy Warfare
Elizabeth Ballou | Vice
“In Ingress, players accept that every park and train station could be the site of an epic showdown, but that’s only the first step. The magic happens when other people accept that, too. When players feel like that magic is real, there are few limits to what they’ll do or where they’ll go for the sake of the game. ”

The Shady Cryptocurrency Boom on the Post-Soviet Frontier
Hannah Lucinda Smith | Wired
“…although the tourists won’t guess it as they stand at Kuchurgan’s gates, admiring how the evening light reflects off the silver plaque of Lenin, this plant is pumping out juice to a modern-day gold rush: a cryptocurrency boom that is underway all across the former Soviet Union, from the battlefields of eastern Ukraine to time-warp enclaves like Transnistria and freshly annexed Crimea.”

Scientists Are Totally Rethinking Animal Cognition
Ross Andersen | The Atlantic
“This idea that animals are conscious was long unpopular in the West, but it has lately found favor among scientists who study animal cognition. …For many scientists, the resonant mystery is no longer which animals are conscious, but which are not.”

I Wrote This on a 30-Year-Old Computer
Ian Bogost | The Atlantic
“[Back then] computing was an accompaniment to life, rather than the sieve through which all ideas and activities must filter. That makes using this 30-year-old device a surprising joy, one worth longing for on behalf of what it was at the time, rather than for the future it inaugurated.”

Assuming that the emergence of consciousness in artificial minds is possible, those minds will feel the urge to create art. But will we be able to understand it? To answer this question, we need to consider two subquestions: when does the machine become an author of an artwork? And how can we form an understanding of the art that it makes?

Empathy, we argue, is the force behind our capacity to understand works of art. Think of what happens when you are confronted with an artwork. We maintain that, to understand the piece, you use your own conscious experience to ask what could possibly motivate you to make such an artwork yourself—and then you use that first-person perspective to try to come to a plausible explanation that allows you to relate to the artwork. Your interpretation of the work will be personal and could differ significantly from the artist’s own reasons, but if we share sufficient experiences and cultural references, it might be a plausible one, even for the artist. This is why we can relate so differently to a work of art after learning that it is a forgery or imitation: the artist’s intent to deceive or imitate is very different from the attempt to express something original. Gathering contextual information before jumping to conclusions about other people’s actions—in art, as in life—can enable us to relate better to their intentions.

But the artist and you share something far more important than cultural references: you share a similar kind of body and, with it, a similar kind of embodied perspective. Our subjective human experience stems, among many other things, from being born and slowly educated within a society of fellow humans, from fighting the inevitability of our own death, from cherishing memories, from the lonely curiosity of our own mind, from the omnipresence of the needs and quirks of our biological body, and from the way it dictates the space- and time-scales we can grasp. All conscious machines will have embodied experiences of their own, but in bodies that will be entirely alien to us.

We are able to empathize with nonhuman characters or intelligent machines in human-made fiction because they have been conceived by other human beings from the only subjective perspective accessible to us: “What would it be like for a human to behave as x?” In order to understand machinic art as such—and assuming that we stand a chance of even recognizing it in the first place—we would need a way to conceive a first-person experience of what it is like to be that machine. That is something we cannot do even for beings that are much closer to us. It might very well happen that we understand some actions or artifacts created by machines of their own volition as art, but in doing so we will inevitably anthropomorphize the machine’s intentions. Art made by a machine can be meaningfully interpreted in a way that is plausible only from the perspective of that machine, and any coherent anthropomorphized interpretation will be implausibly alien from the machine perspective. As such, it will be a misinterpretation of the artwork.

But what if we grant the machine privileged access to our ways of reasoning, to the peculiarities of our perception apparatus, to endless examples of human culture? Wouldn’t that enable the machine to make art that a human could understand? Our answer is yes, but this would also make the artworks human—not authentically machinic. All examples so far of “art made by machines” are actually just straightforward examples of human art made with computers, with the artists being the computer programmers. It might seem like a strange claim: how can the programmers be the authors of the artwork if, most of the time, they can’t control—or even anticipate—the actual materializations of the artwork? It turns out that this is a long-standing artistic practice.

Suppose that your local orchestra is playing Beethoven’s Symphony No 7 (1812). Even though Beethoven will not be directly responsible for any of the sounds produced there, you would still say that you are listening to Beethoven. Your experience might depend considerably on the interpretation of the performers, the acoustics of the room, the behavior of fellow audience members or your state of mind. Those and other aspects are the result of choices made by specific individuals or of accidents happening to them. But the author of the music? Ludwig van Beethoven. Let’s say that, as a somewhat odd choice for the program, John Cage’s Imaginary Landscape No 4 (March No 2) (1951) is also played, with 24 performers controlling 12 radios according to a musical score. In this case, the responsibility for the sounds being heard should be attributed to unsuspecting radio hosts, or even to electromagnetic fields. Yet, the shaping of sounds over time—the composition—should be credited to Cage. Each performance of this piece will vary immensely in its sonic materialization, but it will always be a performance of Imaginary Landscape No 4.

Why should we change these principles when artists use computers if, in these respects at least, computer art does not bring anything new to the table? The (human) artists might not be in direct control of the final materializations, or even be able to predict them but, despite that, they are the authors of the work. Various materializations of the same idea—in this case formalized as an algorithm—are instantiations of the same work manifesting different contextual conditions. In fact, a common use of computation in the arts is the production of variations of a process, and artists make extensive use of systems that are sensitive to initial conditions, external inputs, or pseudo-randomness to deliberately avoid repetition of outputs. Having a computer executing a procedure to build an artwork, even if using pseudo-random processes or machine-learning algorithms, is no different than throwing dice to arrange a piece of music, or to pursuing innumerable variations of the same formula. After all, the idea of machines that make art has an artistic tradition that long predates the current trend of artworks made by artificial intelligence.

Machinic art is a term that we believe should be reserved for art made by an artificial mind’s own volition, not for that based on (or directed towards) an anthropocentric view of art. From a human point of view, machinic artworks will still be procedural, algorithmic, and computational. They will be generative, because they will be autonomous from a human artist. And they might be interactive, with humans or other systems. But they will not be the result of a human deferring decisions to a machine, because the first of those—the decision to make art—needs to be the result of a machine’s volition, intentions, and decisions. Only then will we no longer have human art made with computers, but proper machinic art.

The problem is not whether machines will or will not develop a sense of self that leads to an eagerness to create art. The problem is that if—or when—they do, they will have such a different Umwelt that we will be completely unable to relate to it from our own subjective, embodied perspective. Machinic art will always lie beyond our ability to understand it because the boundaries of our comprehension—in art, as in life—are those of the human experience.

This article was originally published at Aeon and has been republished under Creative Commons.